The Oscar Nerd: Julie Andrews in Mary Poppins Saturday, March 12, 2011 Julie Andrews in Mary Poppins Julie Andrews received her first Best Actress nomination and only Oscar to date for playing Mary Poppins, the magic nanny in the Walt Disney movie, Mary Poppins. How did she win exactly? That's one of the biggest questions of the history of the Oscar but the answer is quite simple. Andrews' role of Eliza Doolittle was played by Audrey Hepburn and she had to make do with this role instead. Plus, Andrews was (going to be) a huge star and her movie was a huge success. It's interesting, though that her role is not baity at all. But I'll explain my thoughts on her. Mary Poppins is a great, moving movie that I HATED for the first time and LOVED now. It's so full of wit, love, beauty and emotions. I guess I needed to become more mature to understand its real message. I think the story is much more complex than one would imagine and nothing is as simple in it as it seems, I think. The technical part of it is great for its age and it's not even that ridiculous by today's standards.

I'm not sure if I would vote this movie for the Best Picture but it's definitely close between Zorba the Greek and Mary Poppins. I think Julie Andrews is a very good actress who's always able to give very proper and entertaining performances which make your evenings in front of the TV pleasant. For instance, there's the queen from Princess Diaries. A very standard role in a standard movie but somehow she was able to create a really loveable and memorable character with her fantastic sense of humor and great acting talent. The 1960s were a great time for her. She was one of the biggest stars, she got leads in financially and/or critically succesful movies and this is all probably thanks to her starmaking turns in Mary Poppins and The Sound of Music. In both movies, she plays a nanny/governess who has a great relationship with the children and eventually she wins over the fathers. However, the two roles are somehow different. Both characters are free-spirited and joyful, however there's so much more mystery in Mary Poppins' part. Unlike Maria, Mary has a darker and even a bit bitchy side and she's much more firm.

What I really admire in these performances is that Julie Andrews added depth to these characters and a considerable amount of emotions. I know that many of you disagree but I stand staunchly by my opinion. Mary Poppins is not a one-dimensional cartoon character that it could have been. In fact, as I said Andrews added very muh mystery to this woman. I mean, I always kept searching for answers about Mary. Who is she? Why is she a savior of families? Does she have a special gift or she's a witch? Or quite simply, she's just a symbol of the goodness that comes once in a while to save some souls. Julie Andrews' singing is naturally fantastic and she also dances quite well. Her experience on the stage most certainly helped her a lot in solving the musical parts of the performance. She's always what she should be: sometimes she's funny, sometimes she's superior, sometimes she's strict and occasionally, she's really touching. I mean that song called Feed the bird is extremely moving. Although she's not visible for most of the scene, her voice expresses so many emotions. One could also mention the scenes where Mary, Bert and the children go inside a picture.

It's such a great, long sequence and I loved how clever and playful Julie was there. But I could also mention when they dance on the roofs and the chimnes with dirty faces. Everything becomes so loveable about her and it was just great. Julie Andrews also has wonderful chemistry with Dick Van Dyke and the children. The four work together incredibly well. It's great that Andrews doesn't act as if she was the mother of them but really as a nanny. However, Mary has deep love for these children. And in the end we can see that Mary Poppins also has a vulnerable side and that she indeed cared about this family. It's also a very touching moment. If you asked me, I woulf say my favorite moment of her whole performance was the one between her and the laughing uncle. That was just dead on. Julie Andrews comes in, gives a great acting performance as Mary Poppins, The Nanny. Everything is just delightful about her, both the character and the work of the actress. It's excellent work techincally and also in terms of the emotional effect. It's a great achievement and it's no wonder that it became an iconic performance among children.

Because if you really want to see the wonders of this role, you must loose yourself and (and just like Banks) become a child again for two hours. I may be alone with this but I think that this is fantastic work. I bet this was a real shock for some of the haters. :D Written by Mary Poppins (1964) - IMDb IMDb 29 December 2016 2:33 AM, UTC NEWS There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error From $2.99 (SD) on Amazon Video IN THEATERS ON DISC ALL A magical nanny helps bring the two children she's in charge of closer to their father through songs and magical adventures.

Director: Bill Walsh (screenplay), Don DaGradi (screenplay) (as Don Da Gradi) | 1 more credit » Stars: a list of 23 titles created 10 Dec 2011 a list of 23 titles created 29 Nov 2013 a list of 30 titles created 02 Dec 2013 a list of 21 titles created 4 months ago a list of 25 titles created 4 months ago Search for " Mary Poppins " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 5 Oscars. Another 15 wins & 14 nominations. See more awards » Videos A woman leaves an Austrian convent to become a governess to the children of a Naval officer widower. Director: Robert Wise Charlie receives a golden ticket to a factory, his sweet tooth wants going into the lushing candy, it turns out there's an adventure in everything.

Director: Mel Stuart A down-on-his-luck inventor turns a broken-down Grand Prix car into a fancy vehicle for his children, and then they go off on a magical fantasy adventure to save their grandfather in a far-off land. Director: Ken Hughes Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Kathryn Beaumont, Ed Wynn, Richard Haydn Directors: William Cottrell, David Hand, and 4 more credits » Stars: Adriana Caselotti, Harry Stockwell, Lucille La Verne Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Ilene Woods, James MacDonald, Eleanor Audley Directors: Victor Fleming, George Cukor, and 3 more credits » Stars: Judy Garland, Frank Morgan, Ray Bolger Directors: Clyde Geronimi, Wilfred Jackson, and 1 more credit » Stars: Barbara Luddy, Larry Roberts, Peggy Lee Directors: Samuel Armstrong, Norman Ferguson, and 5 more credits » Stars: Sterling Holloway, Edward Brophy, James Baskett A misogynistic and snobbish phonetics professor agrees to a wager that he can take a flower girl and make her presentable in high society.

Director: George Cukor When a street urchin vies for the love of a beautiful princess, he uses a genie's magic power to make himself off as a prince in order to marry her. Directors: Ron Clements, John Musker Stars: Scott Weinger, Robin Williams, Linda Larkin Directors: Clyde Geronimi, Wilfred Jackson, and 2 more credits » Stars: Bobby Driscoll, Kathryn Beaumont, Hans Conried Edit Storyline When Jane and Michael, the children of the wealthy and uptight Banks family, are faced with the prospect of a new nanny, they are pleasantly surprised by the arrival of the magical Mary Poppins. Embarking on a series of fantastical adventures with Mary and her Cockney performer friend, Bert, the siblings try to pass on some of their nanny's sunny attitude to their preoccupied parents. Written by Jwelch5742 See It Again and Again with that Supercalifragilistic Music! [re-release Australia 1976] See more » Genres: 11 September 1964 (Brazil) See more » Also Known As: Did You Know?

Trivia With five wins out of 13 nominations in total, this film marked Walt Disney 's single most successful night at the Academy Awards. Never before or since, as of 2016, has a single Disney film won as many Oscars in one evening. See more » Goofs When Mary Poppins is tidying the nursery, the pictures straighten, but in the next shot, they are still crooked. See more » Quotes [first lines] Bert : All right, ladies an' gents! Comical poem! Suitable for the occasion, extemporized and thought up before your very eyes! All right, 'ere we go! [sings] Bert : Room 'ere for everyone. Gather around. [speaks] Bert : The constable - responstable! Now 'ow does that sound? [no response] [dashes over to Miss Lark, sings] Bert : 'Ello, Miss Lark, I've got one for you. [...] See more » Crazy Credits In the end credit cast list, the actor playing Mr. Dawes, Sr.

is initially shown as NAVCKID KEYD, then the letters unscramble themselves to show that this is a second role played by Dick Van Dyke . See more » Connections Let's Go Fly a Kite (uncredited) I urge people to try it again. 14 December 1999 | by Spleen (Canberra, Australia) – See all my reviews `Tart', `not nearly so sentimental as The Sound of Music', `Disney's finest achievement' ... I'd read critics' comments like these with puzzlement. Had they seen the same film I had? Of course they had: it's just that someone had got it wrong; and as it turned out, it was me. I still think that anyone who calls `Mary Poppins' Disney's finest is being silly - Disney's finest hour was clearly the one that saw `Pinocchio', `Fantasia', `Dumbo' and `Bambi' - but what we have here is a fine, clever film, NOT overly sweet. What won me over was the ending. David Tomlinson changes from a mechanical banker to a human being with surprising fluency.

It's not any one scene: it's the entire extended sequence, from the run on the bank to the end credits. And it's not just Tomlinson's acting, either, but the long, lingering shots of him standing and walking in darkness, and a use of music that's far more sophisticated than I'd first supposed it to be, the general intelligence of the script. The last lines given to Mary Poppins I'd missed the point of the first time round. She's a riddle throughout the film which the film's conclusion partially, but only partially, unravels. Considered as a musical `Mary Poppins' lacks something. WHAT it lacks is revealed when we hear the Jane and Michael tramping around the house singing `Supercalifragilisticexpialidocious' (a great song, by the way) - and they GET THE TUNE WRONG. They get it wrong in exactly the irritating way that children WOULD get it wrong. This may be an inspired touch of realism, but it surely violates the ethos of musicals, as do the deeply pedestrian songs `Stay Awake', `Sister Suffragette' and `A Spoonful of Sugar'.

This was the side of `Mary Poppins' I'd remembered. I'd forgotten the haunting quality of `Feed the Birds' and `Let's Go Fly a Kite', and the punch of the score as a whole. So anyway, I'm now a convert. I can't find anything to seriously object to except Dick Van Dyke's ludicrous accent, which makes him sound almost, but not quite, like Bugs Bunny. 45 of 64 people found this review helpful. Was this review helpful to you? Yes Julie Andrews Returns to Nanny Duties Julie Andrews Returns to Nanny Duties Email Hollywood’s most beloved nanny is about to be put in charge of one of pop culture’s most unlovable brats.

Julie Andrews, who won an Oscar for her movie debut as the magical, flying governess in 1964’s “Mary Poppins” and went on to star as another caretaker to children in one of the most popular movies of all time, 1965’s “The Sound of Music,” is now going to star in the ABC TV-movie versions of the hilarious kids’ classics “Eloise at the Plaza” (to be aired later this season) and “Eloise at Christmastime” (set for Christmas 2003). The Hollywood Reporter says Kevin Lima (“102 Dalmatians”) will direct both films about the spectacularly mischievous 6-year-old who lived at New York’s Plaza Hotel and was immortalized in the 1950s books by Kay Thompson and illustrator Hilary Knight. Andrews, 67, will play Nanny, the British guardian to Eloise. Nine-year-old newcomer Sofia Vassilieva (“The Brady Bunch in the White House”) has been cast in the title role in the films, according to the trade paper. Eloise is enjoying a true revival these days.

Her creator, the legendary Thompson (movie buffs can catch her cavorting onscreen with Audrey Hepburn and Fred Astaire in 1957’s “Funny Face,” though she was best known as the behind-the-scenes vocal coach for Judy Garland and Lena Horne) died in 1998, after having locked up the rights to “Eloise” decades before. But her estate has freed them up — much to the delight of the still thriving Knight — and this month, after 40 years of being locked in a closet, a long-dormant Eloise adventure, “Eloise Takes a Bawth,” is finally being published. Early reviews have been glowing. Show Full Article Julie Andrews Wins Best Actress: 1965 Oscars - YouTube Julie Andrews Wins Best Actress: 1965 Oscars Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Sep 27, 2011 Sidney Poitier presenting Julie Andrews the Oscar® for Best Actress for her performance in "Mary Poppins" at the 37th Academy Awards® in 1965. Introduced by Bob Hope. Watch more of the 1965 Oscars: Category Julie Andrews Movies - Ultimate Movie Rankings Ultimate Movie Rankings Where Movies Come to Get Ranked Menu Julie Andrews Movies Julie Andrews in 1964’s Mary Poppins Want to know the best Julie Andrews movies? How about the worst Julie Andrews movies? Curious about Julie Andrews box office grosses or which Julie Andrews movie picked up the most Oscar nominations? Need to know which Julie Andrews movie got the best reviews from critics and audiences and which got the worst reviews? Well you have come to the right place….because we have all of that information and more. When it is time to pick out the next subject for one of our movie pages we do two things. The first thing we do is look at our Request Hotline page. The second thing we do is try to figure out how much work will be required to write and publish that page.

Thankfully as our database has grown over the years, it generally has been easier to write a movie page. Nowadays about 50% of the latest subject’s movies are already done and need no further research. Well….when looking at the career of Julie Andrews (1935-) we saw that we had an amazing 85% of her movies already in our database and only needed to research 4 movies. So given the fact that a few people had requested an Andrews page and that almost all the work was done….we decided to do a Julie Andrews Ultimate Movie Rankings page. Julie Andrews is an English film and stage actress, singer, author, theater director and dancer. During her entertainment career she has won an Oscar®, a BAFTA, five Golden Globes®, three Grammys®, two Emmys®, the Disney Legend honor and the Kennedy Center Honors. In 2000, she was made a Dame by Queen Elizabeth II for services to the performing arts. Andrews has not one but two iconic movie roles….1964’s Mary Poppins and 1965’s The Sound of Music. 50 plus years later and both of those movie performances are still talked about today!

Her IMDb page shows 44 acting credits from 1949-2010. This page will rank 27 Julie Andrews movies from Best to Worst in six different sortable columns of information. Cameos and television roles were not included in the rankings. Her numerous voice only roles have been given their own separate table. Julie Andrews in 1965’s The Sound of Music Julie Andrews Movies Can Be Ranked 6 Ways In This Table The really cool thing about this table is that it is “user-sortable”. Rank the movies anyway you want. Sort Julie Andrews movies by co-stars of her movies. Sort Julie Andrews movies by adjusted domestic box office grosses using current movie ticket cost Sort Julie Andrews movies by yearly domestic box office rank Sort Julie Andrews movies how they were received by critics and audiences. 60% rating or higher should indicate a good movie. Sort by how many Oscar® nominations and Oscar® wins each Julie Andrews movie received and won. Sort Julie Andrews movies by Ultimate Movie Rankings (UMR) Score. UMR Score puts box office, reviews and awards into a mathematical equation and gives each movie a score. *** = Oscar® nominated role Use the search and sort button to make this page very interactive.

Rank Box Office Rank By Year Critic Audience Rating The Sound of Music (1965) *** Christopher Plummer 19.53 Stats and Possibly Interesting Things From The Above and Below Julie Andrews Tables Fourteen Julie Andrews movies crossed the magical $100 million domestic gross mark. That is a percentage of 51.85% of her movies listed. The Sound of Music (1965) was her biggest box office ht when looking at adjusted domestic box office gross. An average Julie Andrews movie grosses $204.07 million in adjusted box office gross. Using RottenTomatoes.com’s 60% fresh meter. 19 of Julie Andrews’ movies are rated as good movies…or 70.37% of their movies. Mary Poppins (1964) is her highest rated movie while The Tooth Fairy (2010) was her lowest rated movie. Twelve Julie Andrews movie received at least one Oscar® nomination in any category…..or 44.44% of her movies. Four Julie Andrews movie won at least one Oscar® in any category…..or 14.81% of her movies.

An average Ultimate Movie Ranking (UMR) Score is 39.86. 17 Julie Andrews movies scored higher than that average….or 62.96% of her movies. Mary Poppins (1964) got the the highest UMR Score while Unconditional Love (1999) got the lowest UMR Score. Julie Andrews provided the voice of Queen in three Shrek movies Julie Andrews Voice Only Roles Column 1 is the name of the movie Column 2 is adjusted domestic box office grosses using current movie ticket cost Column 3 is adjusted worldwide box office grosses using current movie ticket cost Column 4 is how the movie was received by critics and audiences. 60% rating or higher should indicate a good movie. Column 5 is how many total Oscar® nominations (all categories) and Oscar® wins each movie received and won Column 6 is the movie’s Ultimate Movie Rankings (UMR) Score. UMR Score puts box office, reviews and awards into a mathematical equation and gives each movie a score.

Inflated Domestic Box Office (Millions) Adjusted Worldwide Box Office (Millions) Domestic Box Office Rank By Year Critic Audience Rating Robert Preston, Andrews, James Garner and Alex Karros in 1982’s Victor/Victoria Possibly Interesting Facts About Julie Andrews 1. Julia Elizabeth Wells was born on 1 October 1935, in Walton-on-Thames, Surrey, England. Her last name of Andrews comes from her step-father. 2. Julie Andrews rise to stardom..Cliff Notes style. Started performing as a child in music halls. At 19, she made her Broadway debut in The Boyfriend. Had huge success on the stage playing the lead in My Fair Lady and being featured in the television musical Cinderella. Audrey Hepburn replaced her when My Fair Lady was turned into a movie because Andrews did not have box office drawing power. Walt Disney then offered Andrews the lead role in Mary Poppins (1964). Andrews would win an Oscar® playing the “perfect nanny”. In 1965, she starred in one of the biggest box office hits of all-time…1965’s The Sound of Music.

She has been a star ever since! 3. Julie Andrews has been nominated for 3 Best Actress Oscar® nominations. She won for 1964’s Mary Poppins. She got nominations for 1965’s The Sound of Music and 1982’s Victor/Victoria. 4. Julie Andrews has been nominated for 9 Best Actress Golden Globe® nominations….or 42.85% of all of her live action movie roles. 3 won three times….Mary Poppins, The Sound of Music and Victor/Victoria. 5. Julie Andrews starred in the biggest box office hits of the year three years in row. Mary Poppins (1964), The Sound of Music (1965) and Hawaii (1966). Poor Hawaii a movie that hardly ever gets mentioned. 6. Julie Andrews’ The Sound of Music is the 3rd biggest hit of all-time when looking at adjusted box office grosses. Gone With The Wind (1939) and Star Wars (1977) are the only two movies in history to sell more movie tickets. 7. Julie Andrews was married two times.

Her first marriage was to Oscar® winning set designer Tony Walton from 1959 to 1967….they had one child…actress Emma Walton. She was married to director Blake Edwards from 1969 to his death in 2010…..they had two children. 8. Julie Andrews appeared uncredited in two Pink Panther movies. In 1976 she provided a singing voice in The Pink Panther Strikes Back. In 1982 she appeared as Charwoman in The Trail of the Pink Panther. The Pink Panther movies were directed by her husband Blake Edwards. 9. In 2002, Julie Andrews was ranked number 59 in the BBC’s poll of the 100 Greatest Britons . 10. Roles Julie Andrews turned down or was seriously considered for: Angela Lansbury parts in Beauty and the Beast and Bedknobs and Broomsticks, Liza Minnelli role in Cabaret, Barbra Streisand part in Hello Dolly!, Maggie Smith’s Oscar® winning role in The Prime of Miss Jean Brodie, Audrey Hepburn role in Wait Until Dark, Petula Clark‘s roles in Finian’s Rainbow and “Good-bye, Mr.

Chips and roles in Chitty Chitty Bang Bang, Oliver and Camelot. Check out Julie Andrews’s movie career compared to current and classic stars on our Most 100 Million Dollar Movies of All-Time page. Academy Award® and Oscar® are the registered trademarks of the Academy of Motion Arts and Sciences. Golden Globe®, Emmy® and Grammy® are registered trademarks. For comments….all you need is a name and a comment….please ignore the rest. Golden gaffes: 11 actors who won Oscars for the wrong movies (part 1 of 2) · Inventory · The A.V. Club Share Tweet One of the most popular criticisms lobbed at the Academy is that its members frequently choose the wrong performances by the right people. Sometimes this means “atoning” for a past oversight by rewarding weaker later work; other times, it means bestowing praise upon a more palatable but less adventurous turn from an actor otherwise too edgy for AMPAS. But how often do these kind of right-place, wrong-time mistakes occur? Below, we’ve singled out 11 performers (with 12 more to come tomorrow) who won statuettes for one movie but really deserved it for another.

We’ve also highlighted the truly worthy work—made before or after the win—that failed to snag them the big Oscar prize. 1. John Wayne, True Grit John Wayne was one of the greatest limited-range actors to ever grace a screen—a big guy with a catlike gait and a sing-song cadence, who could be credibly pathetic or fearsome, sensitive or hard-edged, charismatic or standoffish, all the while never coming across as anyone other than John Wayne. Wayne’s iconic work with John Ford and Howard Hawks never earned him as much as a nomination; instead, he won the Oscar for his self-deprecating turn as one-eyed marshal-for-hire Rooster Cogburn in the original True Grit. It remains one of the definitive legacy Oscars, the American Western’s most iconic leading man winning Best Actor for a comic role, well after the genre had passed into its sunset years. What he should have won for: The Man Who Shot Liberty Valance, The Searchers, The Wings Of Eagles, Stagecoach, The Quiet Man, Fort Apache, Red River, Rio Bravo, El Dorado—pretty much any time Wayne was in front of the camera and either Ford or Hawks was behind it would qualify.

For an off-kilter choice, you could argue in favor of his supporting role as an oafish Swedish sailor in Ford’s The Long Voyage Home—one of his few genuinely actorly performances. [Ignatiy Vishnevetsky] 2. Al Pacino, Scent Of A Woman As an actor, Al Pacino excels at two different modes: the quiet, haunting intensity that made him so compelling in The Godfather and Serpico, and the scenery-chomping, over-the-top gusto that makes it impossible to take your eyes off him in Dick Tracy and Scarface. Scent Of A Woman’s embittered, alcoholic Lieutenant Colonel Frank Slade—the performance that finally netted Pacino an Oscar after seven unsuccessful lead and supporting nominations—falls somewhere in the middle of those two extremes; Slade is neither as moving as Michael Corleone nor as entertaining as Big Boy. And while Pacino’s performance is easily the best thing about the film (give or take a young Philip Seymour Hoffman), his “Hoo-ah!” catchphrase has become a punchline—a perfect example of the histrionic tendencies that have dominated much of his latter-day work.

What he should have won for: The downfall of Michael Corleone is one of cinema’s greatest tragic arcs, and Pacino’s work in either of the first two Godfather films should have netted him a trophy. [Les Chappell] 3. Jeremy Irons, Reversal Of Fortune When Jeremy Irons won Best Actor for his portrayal of Claus Von Bulow in 1991’s Reversal Of Fortune, he reserved part of his speech for someone who had no official involvement in the film itself. “Thank you also—and some of you may understand why—thank you, David Cronenberg,” he said toward the end of his remarks, and those who had been following his career up until that point did understand. A few years earlier, Irons had delivered a dual performance as twin gynecologists losing their minds in Cronenberg’s brilliant, disturbing psychodrama Dead Ringers. Managing, through mannerisms alone, to create an instantly recognizable distinction between the two characters, Irons earned widespread acclaim for Dead Ringers but no Oscar nomination. By referencing the film while accepting an award for a different film, Irons may have been expressing his gratitude to Cronenberg for helping him become a sharper, more confident performer.

Maybe, however, he was just saying what plenty of others were thinking: that a win for his eccentric, tic-heavy performance in Reversal Of Fortune was really a “make up” award for the great work the Academy had inexplicably ignored. What he should have won for: Dead Ringers, which is not just Irons’ best piece of acting, but one of the great performances of the last three decades. [A.A. Dowd] 4. Matthew McConaughey, Dallas Buyers Club There are few Oscar narratives more potent than a comeback, and there are few recent comebacks as impressive as the one Matthew McConaughey has mounted over the past three years. McConaughey’s initial strategy involved taking supporting or co-lead parts in eclectic and often smaller-scale projects, which means that of his nine film roles since the dawn of the McConaissance, only three have been unequivocal leads. It makes sense, then, that McConaughey would receive his award/reward for Dallas Buyers Club, a biopic that benefits from its deeply felt performances. But McConaughey does more inventive work in, well, almost every other movie he’s been in since 2011.

He may have returned to his serious-actor roots, but in films like Killer Joe and Mud, he’s also crazy charismatic (or, sometimes, crazy and charismatic)—something Dallas Buyers Club exploits but fails to deepen. What he should have won for: McConaughey was in the awards conversation back in 2012 for his supporting role in Steven Soderbergh’s Magic Mike. He didn’t ultimately make the final five, but his stripper-in-chief Dallas is just about the perfect role to encapsulate his newly perfected mix of honeyed charm, unusual line readings, and gravitas. [Jesse Hassenger] 5. Juliette Binoche, The English Patient Juliette Binoche may be the most celebrated actress on the entire planet, having won an Oscar, a BAFTA, a César, three European Film Awards, and the Best Actress prize at three prestigious festivals—Cannes, Berlin, and Venice.

The widespread acclaim is well earned: Film to film, Binoche exudes an almost unparalleled authenticity and confidence, and for all the great directors she’s worked with—a list that includes everyone from Jean-Luc Godard to Hou Hsiao-Hsien to Krzysztof Kieślowski—she’s also capable of acquitting herself nicely when plunked down into something less high-brow. (Just look at the impression she makes with just a couple of scenes in last summer’s Godzilla .) So when we say that she claimed that aforementioned Oscar for the wrong film, that’s less of a slam on the winning performance—her perfectly commendable supporting turn as the nurse Hana in Anthony Minghella’s The English Patient—than an acknowledgement that Binoche has a much worthier body of work from which to choose. Many of those movies, however, are in French instead of English, which pretty much rules them out of the Academy’s selection pool. What she should have won for: Take your pick. We’re partial to Certified Copy, which is specifically about the value of imitation—a case made beautifully by Binoche’s impassioned, layered performance. [A.A. Dowd] 6.

Jessica Lange, Tootsie The 1983 Oscar ceremony looked like it was going to be dominated for once by a comedy: Tootsie, featuring Dustin Hoffman’s groundbreaking and realistic transformation into a soap-opera actress. The film received 10 nominations, including a few for actresses Jessica Lange and Teri Garr in the supporting category. Garr, the true supporting player, was in one of those “the nomination is the award” situations, but Lange’s appearance in the category was a sham. She was Hoffman’s co-star, not the supporting actress, even though her part didn’t consist of much more than portraying the object of Hoffman’s affections. But Lange had a great acting year; her more revelatory role was the dynamic and unstable Frances Farmer in Frances, a performance for which she received a Best Actress nomination (making her the first person to be nominated in two categories since 1942). And as everyone expected the unstoppable Meryl Streep to win Best Actress for her wrenching turn in Sophie’s Choice, Lange got the sympathy trophy for Best Supporting. It turned out be Tootsie’s only Oscar.

What she should have won for: Lange is breathtaking in Frances—high-spirited, uninhibitedly riveting at the beginning of the film, worn down and institutionalized by the end. Perhaps there could have been a tie that year? [Gwen Ihnat] 7. Julie Andrews, Mary Poppins Of the five Oscars Mary Poppins won, Julie Andrews’ Best Actress trophy may be the most perplexing. Although she deftly and gamely brought the famous nanny to life in her film debut, dancing with animated penguins and taking Dick Van Dyke’s Cockney accent seriously, most consider her award the ultimate consolation prize for not getting the film debut she really wanted: Eliza Doolittle in My Fair Lady. Although Andrews had owned this role onstage (and even put off accepting the Mary Poppins part because she, like everyone else, thought she was a shoo-in for My Fair Lady), the studio decided to go with a better-known quantity for Eliza, hiring Audrey Hepburn. Andrews even cheekily thanked Jack Warner in her Golden Globe acceptance speech, implying that his not hiring her enabled her to accept her award-winning role in Poppins.

The ultimate revenge: Hepburn did not receive an Oscar nomination for her role in My Fair Lady, which won Best Picture and Best Actor that year. What she should have won for: Andrews played a woman playing a man playing a woman in Victor Victoria, as her multi-octave singing won over handsome James Garner in a series of drag musical numbers. Her husband Blake Edwards directed her into the most impressive and fun performance of her career. Unfortunately, this was in the overcrowded 1982 film field that included the aforementioned Streep and Lange. Three-way tie? [Gwen Ihnat] 8. James Cagney, Yankee Doodle Dandy A song-and-dance man whom everyone preferred as a guns-and-dames guy, James Cagney spent much his career trying to outrun the gangster films that had turned him into a living cartoon. He got there, sometimes, by starring in Busby Berkeley films and playing war heroes. But Cagney was happiest with his role as a rah-rah music man in Yankee Doodle Dandy, and the Academy agreed.

Still, while Cagney the veteran vaudevillian may have felt right at home tap-dancing through a big, splashy musical full of WWII-era patriotic fervor, his greatest acting performances remain those cocksure criminals, among the most electrifying ever committed to film. What he should have won for: Either his petty and vindictive momma’s boy in The Public Enemy or his twisted and psychopathic momma’s boy in White Heat; both remain high-water marks for playing a villain the audience can’t help but root for. [Sean O’Neal] 9. Kate Winslet, The Reader Before taking home her first Academy Award for playing a secretive German woman with a dark past in 2009’s The Reader, Kate Winslet had been nominated five times in the lead and supporting categories, for worthy performances in films as varied as the 1996 Jane Austen adaptation Sense And Sensibility and the off-kilter Michel Gondry/Charlie Kaufman science-fiction romance Eternal Sunshine Of The Spotless Mind.

Given all the memorable work Winslet could’ve won for, it’s a shame that her lone Oscar is for a mopey turn in a middling historical drama so nondescript that even when the ceremony’s host Hugh Jackman sang about it during his opening number, his lyrics were , “The Reader… I haven’t seen The Reader.” What she should have won for: In the fairest possible world, Winslet would’ve been recognized for playing a teenage murderess in her 1994 debut film, Peter Jackson’s Heavenly Creatures. [Noel Murray] 10. Paul Newman, The Color Of Money Paul Newman’s Best Actor win for Martin Scorsese’s The Color Of Money would make sense as an honorary “overdue for past performances” sort of award—except he’d been given an honorary Oscar for precisely that, only one year earlier. As such, the Color triumph feels like a doubling down on Newman, proof that he could still win purely for a performance, and not as a pity party. Unfortunately, the Academy chose a role that didn’t exactly require Newman to stretch.

His “Fast Eddie” Felson already knows who he is, and is mostly directed toward molding another character, Tom Cruise’s Vincent Lauria, into a world-class hustler. All of which just pointed out how much more impressive Newman’s performance was when he played the character the first time, in 1961’s The Hustler. What he should have won for: Cool Hand Luke goes without saying, so we’ll mention 1982’s The Verdict, where the dignity with which he imbued bitter alcoholic lawyer Frank Galvin sent Sidney Lumet’s film soaring. [Alex McCown] 11. Elizabeth Taylor, Butterfield 8 Not even Elizabeth Taylor liked Butterfield 8. According to legend, Taylor declared the 1960 drama a stinker; after hearing of its success, she told the press she hated her character, a promiscuous Manhattan model. But Taylor got the statue anyway, in part because she was already an industry veteran without an Oscar at that point in her career. A slew of great parts—including three consecutively nominated turns in Raintree County, Cat On A Hot Tin Roof, and Suddenly, Last Summer—had gone unrewarded.

Taylor would later (and correctly) win for Who’s Afraid Of Virginia Woolf? but Butterfield 8 remains a head-scratcher. What she should have won for: Cat On A Hot Tin Roof is Taylor at her finest: oozing sexy confidence to mask underlying vulnerabilities and inner rage. [Molly Eichel] Julie Andrews | The Stars | Broadway: The American Musical | PBS Stephen Sondheim Tony Walton Though Andrews was again passed over for the film version of “Camelot” — this time in favor of actress Vanessa Redgrave — her time in films was not long in coming. She made her screen debut in 1964 in MARY POPPINS. Her appearance as the magical nanny won her both an Academy Award and a Golden Globe Award for best actress. This film and the following year’s THE SOUND OF MUSIC, in which she played a children’s governess who wins the love of her charges’ father, began to establish Andrews as a specialist in wholesome family entertainment.

As Clive Hirschhorn put it in his 1981 book, THE HOLLYWOOD MUSICAL, THE SOUND OF MUSIC was accused of “mawkish sentimentality” by many critics, but “it was Andrews’ extraordinarily assured and appealing central performance … that was largely responsible for the film’s enormous success.” Her featured songs in the film included the title theme, “I Have Confidence in Me,” and “My Favorite Things.” Another musical film featuring Andrews was 1967’s THOROUGHLY MODERN MILLIE, which Hirschhorn hailed as “an irresistible mixture of brashness, charm, and nostalgia put together with expertise.” Like her first major stage play, MILLIE had Andrews portraying a young woman during the 1920s — a young woman who goes to New York City as a secretary in search of a rich husband and becomes involved in a white slavery ring. During what Hirschhorn describes as a “thoroughly captivating star performance,” Andrews sang ditties such as “Jimmy” and “Poor Butterfly.” She became the youngest actress ever to play the part of Eliza Doolittle professionally.

Not long after filming MILLIE, Andrews divorced her first husband, theatrical designer Tony Walton, and married motion-picture producer and director Blake Edwards, famed for his PINK PANTHER films. She began working in Edwards’ efforts, including 1970’s DARLING LILI. Andrews was also featured as actor Dudley Moore’s long-suffering girlfriend in Edwards’ 10. In 1981’s S.O.B., Edwards spoofed his wife’s wholesome image by making a big production of her character, Sally Miles, baring her breasts for the camera. Andrews perhaps moved even further from her former reputation when she portrayed a singing transvestite in Edwards’ 1982 motion picture, VICTOR/VICTORIA. The critics especially took her seriously in the latter role, and she received nominations for both an Academy Award and a Golden Globe for her part in the film. During the late 1980s, Andrews concentrated on more serious film roles, ones that did not utilize her talent for singing. Though Edwards’ 1986 effort THAT’S LIFE is a comedy, Andrews’ portrayal of Gillian Fairchild is a serious one — Gillian is waiting for the results of a biopsy.

Andrews “is the movie’s strong, quiet heart,” declared reviewer David Ansen in NEWSWEEK, “and it is she who devastates us when she finally unleashes her pent-up emotions.” Despite some negative comments about the film in general, critics tended to agree favorably about Andrews’ performance in DUET FOR ONE. Playing a famed violinist dying of multiple sclerosis, “Andrews doesn’t tear a passion to tatters; she uses it to stitch a coherent soul,” according to Richard Corliss of TIME. And MACLEAN’s critic Lawrence O’Toole asserted that “Andrews gives what may be the performance of her life in DUET FOR ONE.” But Andrews continues entertaining fans with her voice.

In 1988 she released the album LOVE, JULIE, which featured her renditions of songs like “Tea for Two,” “Come Rain or Come Shine.” Though PEOPLE reviewer David Hiltbrand considered the disc a mixed effort, he had praise for the “sensuousness to her tone,” and said that her voice was “sweet and clear, often frosted with an appreciable sparkle.” Source: Excerpted from CONTEMPORARY MUSICIANS, VOLUME 4, Gale Research, © 1990 Gale Research. Reprinted by permission of The Gale Group. Photo credits: Photofest and the New York Public Library 5 Julie Andrews Roles That Changed Movie History | Mic Copyright © Mic Network Inc. All rights reserved. One World Trade Center, 285 Fulton Street 83rd Floor, Suite G, New York, NY 10007 Copyright © Mic Network Inc. All rights reserved. 5 Julie Andrews Roles That Changed Movie History PIN Julie Andrews has portrayed some of the most iconic women on film. She’s won every award on the planet and has inspired a generation of musical theater fanatics.

In celebration of her 78th birthday on Tuesday, we’re counting down the five most iconic roles she's played. 1. Queen Clarisse Renaldi — 'The Princess Diaries' and 'The Princess Diaries 2' What could have been a throwaway part in another Disney disappointment, not only gave us a breakout star (Anne Hathaway), but also introduced a new generation of moviegoers to the wonder that is Julie Andrews. Andrews is the type of grandmother we all want — stern yet caring, and a queen of course. Most importantly, as Queen Clarisse in the not-stellar sequel, Andrews sang for the first time since having throat surgery in 1997. So while the film itself may not be groundbreaking, it did give Andrews’ voice back to the world. 2. Victoria Grant – 'Victor/Victoria' It’s a familiar plot now — a struggling performer can’t get a job so she pretends to be a cross-dresser. But in 1982, Andrews’ turn as Victoria Grant was as groundbreaking as it was genius.

The film follows Victoria as she transitions from struggling female soprano to successful female "impersonator" Victor, blending musical comedy with social commentary and giving us some of the best musical numbers on film ( "Le Jazz Hot," among others). However, it’s Andrews’ turn as the gender bending protagonist that stands out, and earned her both Golden Globe and Academy Award nominations for the role. 3. Eliza Doolitle – 'My Fair Lady' Most of you will point out this role was famously played by Audrey Hepburn in the successful film adaptation. You are right, however My Fair Lady began as a successful Broadway musical which starred none other than Julie Andrews as the Cockney heroine at the center of Rex Harrison’s wager. So popular was the original run, the cast recording was the best- selling album of 1956, and garnered Andrews her first Tony nomination. Ultimately the studio didn’t want to risk a big-budget film on a stage actress, but to many people Andrews is the original Eliza Doolittle, without whom the film wouldn’t even exist. Besides, Hepburn’s casting as Eliza meant Andrews was free to pursue other projects. 4.

Mary Poppins – 'Mary Poppins' So what do you do when you’re passed over for the role of a lifetime? If you’re Julie Andrews, you find a better role of course. After losing out on the film adaptation of My Fair Lady, Andrews signed on to a film that would become a Disney classic, Mary Poppins. It’s become one of Andrews’ most beloved roles, with even the new generation of Disney fans clamoring for the nanny who is “practically perfect in every way” (it was the first Disney film to be released on DVD). Mary Poppins is so popular there is even a film being made about its journey to the big screen, Saving Mr Banks , a testament to both Walt Disney’s persistence and Andrews' performance. Oh, and it won her an Academy Award. 5. Maria von Trapp – 'The Sound of Music' There are few films that inspire hordes of people to dress up and sing along in a public movie theater. The Sound of Music does just that, having become a true classic since its release in 1965. Much of that is due to Andrews’ turn as Maria, the young nun who leaves a convent to become a governess.

With vocal performances such as "My Favorite Things" and the titular "The Sound of Music," Andrews brings her famous voice to the role, imbuing it with both the levity and gravity a film about escaping Nazis calls for. And whenever someone spins on a hill, it's her voice playing in their head. Andrews’ Maria has gone on to become one of the most beloved characters of all time, nominated as one of AFI’s greatest movie heroes and inspiring a generation of aspiring Broadway actresses. Mary Poppins may be her greatest achievement, but Maria von Trapp will go down as Julie Andrews' most iconic role of all time. Like us on Facebook:

Question: Which nanny did Julie Andrews win an Oscar for playing?
Answer: Mary Poppins